Historical Background

The Church of Our Lady of Pompeii in Victoria (Rabat), Gozo, was established as part of the first Dominican Sisters’ convent on the island. The convent (the Monastery of the Annunciation, popularly called L-Abbazija ta’ Karolina or “Carolina’s Abbey” after its foundress) was founded by Carolina Cauchi in the late 19th century. Cauchi, a devout Gozitan woman of means, had long aspired to introduce Dominican nuns to Gozo. With the encouragement of Gozo’s Bishop Pietro Pace and after overcoming many obstacles, she dedicated her inheritance to this cause. The first stone of the convent was laid in 1885, and on October 6, 1889, the first community of Dominican sisters began their regular monastic life in Victoria. The sisters initially lived a contemplative life, but soon embraced active roles in teaching and charity, aligning with a Third Order Dominican congregation model (rather than a cloistered second-order monastery).

Within a few years of the convent’s establishment, plans were made for a dedicated church to serve the spiritual needs of the nuns and to promote devotion to Our Lady of Pompeii. Bishop Giovanni Maria Camilleri, then Bishop of Gozo, blessed and laid the foundation stone for the church on Sunday, 10 March 1895. The project was principally funded by Carolina Cauchi (hence her title as benefactress) and was intended as a chapel for the sisters that could also welcome the public on special occasions. This initiative tapped into the growing popular devotion to Our Lady of the Rosary of Pompeii, a Marian devotion spreading worldwide after being founded in Italy by Blessed Bartolo Longo. (In fact, Malta had embraced the Pompeii devotion early – it was first introduced at the Jesuits’ Church in Valletta, which Bartolo Longo himself praised as a “twin” devotion to that of Pompeii.) The Victoria chapel’s dedication to Our Lady of Pompeii thus fit within a broader religious movement while serving local needs.

Construction progressed through the late 1890s. By the time the church was ready, Mgr. Giovanni M. Camilleri returned to preside over its inauguration. The church was opened and blessed on 25 March 1900, timed to coincide with the Feast of the Annunciation Historical records note that the opening took place in a festive atmosphere, with the date purposefully chosen because the monastery was named for the Annunciation. From its inception, the chapel’s purpose was twofold: to provide the Dominican Sisters with a space for daily community liturgy, and to function as a sanctuary of Our Lady of Pompeii accessible to the faithful of Gozo. This dual role was confirmed when the chapel was opened to the public (not just the nuns) on July 25, 1900. In its early years, Masses were held there by local clergy for both the sisters and laypeople who wished to honour the Madonna ta’ Pompei. Over time, the church would grow in renown as a spiritual center within the community.

Construction Details

The Church of Our Lady of Pompeii was constructed between 1895 and 1900 adjacent to the Dominican sisters’ Mother House. Architecturally, it is designed in the Baroque style, echoing the prevalent style of Maltese sacred architecture albeit in a relatively small convent chapel scale. The plans were drawn up by Vincenzo Mercieca, who was the chief government architect in Gozo at that time. Mercieca’s design gave the church an elegant façade with pilasters and a curved open segmental pediment. Notably, the facade is adorned with the Eye of Providence (an eye within a triangle surrounded by rays) as a prominent decorative motif in the upper cornice, symbolizing God’s omniscience. The entrance is crowned by a sculpted portal in the Maltese Baroque taste, and flanking the doorway are two small, rounded balconies (mimicking those on grander churches) that add to the façade’s ornamentation.

The construction process was supervised by the Dominican sisters’ community and local craftsmen. The Mother Superior during the building phase was Sr. Imelda Diacono, who oversaw the project on behalf of the congregation, while Canon Salvatore Grech served as the spiritual director guiding the sisters. These individuals ensured the construction stayed true to its intended sacred purpose. Bishop Camilleri personally laid the first stone in 1895, as noted above, and he also returned to perform the blessing when construction was completed on 25 March 1900. The five-year construction period suggests a relatively smooth project, though it surely required significant resources and coordination. No records of major incidents or delays during the build have been noted in contemporary accounts, indicating the work proceeded steadily. The cost of construction is not explicitly documented in available sources, but it can be inferred that Carolina Cauchi’s endowment and possibly other benefactors’ contributions funded the project; for instance, we know that various donors later sponsored artworks inside the church (indicating a tradition of patronage).

In terms of structure, the church has a single nave with a modest dome above the crossing and one small bell tower (a belfry) that houses a single bell. The dome’s exterior originally had a noteworthy crowning element: a statue of Our Lady poised at its summit. This statue atop the dome stood as a visible sign of Marian protection over the convent. However, decades later, this feature encountered literal stormy weather – in 2009 the statue was blown down and destroyed during a gale, and it was subsequently replaced by a metal cross as a safer alternative. The interior of the dome is decorated in harmonious colours and patterns typical of late 19th-century Maltese ecclesiastical art (photographs show painted coffers and a Marian monogram at its center). The overall layout includes a main altar and several side altars integrated along the side walls of the nave.

No extraordinary challenges during construction are recorded, but one can imagine that integrating the church with the existing convent building required careful planning. Indeed, the church is physically attached to the large convent complex which also housed a school run by the sisters. Despite being a “chapel” by size, the church was built with durability and significance in mind – evidenced by its formal consecration some years later. On 1 July 1923, the Church of Our Lady of Pompeii was solemnly consecrated by Mons. Angelo Portelli, the Auxiliary Bishop of Malta, in a rite that involved anointing the altar and walls with holy chrism. (Gozo did not yet have its own auxiliary, so Bishop Portelli was delegated likely because the diocese of Gozo was still young and he was a Gozitan native serving as Auxiliary in Malta.) The consecration affirmed that the building was debt-free and held in veneration by the community by that date. From an architectural standpoint, the church by then had been embellished and fitted with artistic pieces (as detailed below) to enhance its sacred ambiance.

Cultural and Religious Significance

From its early days, the Pompeii church in Victoria became an important religious sanctuary for the people of Gozo, even though it is not a parish church. It is often referred to as the Santwarju tal-Madonna ta’ Pompei (Sanctuary of Our Lady of Pompeii), reflecting its role as a center of devotion. The Dominican sisters fervently promoted the Rosary devotion and the Pompeian prayers among the local populace, in line with their order’s charism of spreading devotion to Our Lady. Over the years, the chapel has been the site of numerous religious activities that have woven it into the fabric of Gozitan spiritual life. For example, soon after its opening, in November 1902 the sisters accepted responsibility for caring for patients at Gozo’s Isolation Hospital (Lazzaretto), and later in 1914 they opened an infant school at their Victoria Mother House. This meant generations of Gozitan children had their first schooling in classrooms adjacent to the Pompeii church – a fond memory for many locals (author Joe Zammit Ciantar recalls attending infant classes in a room on the right side of the church in the post-WWII years). Thus, the site contributed not only to spiritual life but also to education and social charity, enhancing its standing in the community.

In terms of religious culture, the Church of Our Lady of Pompeii introduced to Gozo the special practices associated with the Pompeii Marian devotion. One significant tradition is the Supplica, a solemn prayer of petition to the Virgin of Pompeii, which is recited with particular devotion on May 8 and the first Sunday of October (dates tied to the original shrine in Italy). The feast of Our Lady of Pompeii is marked annually; for instance, an announcement in 2025 detailed a full day of Masses and a noon Supplica led by the Bishop of Gozo on May 8 at this sanctuary. Although more modest than a typical Maltese village festa (since this church is not the seat of a parish), the celebration still draws the faithful for special sermons, Rosary processions, and choir singing in honour of the Madonna ta’ Pompei. The devotion has been enthusiastically kept alive by the Dominican sisters. In the mid-20th century, they ensured even cloistered nuns could participate in important Marian events – a charming anecdote from 1950 recounts how the sisters, who had no radio, eagerly listened from their convent veranda to the proclamation of the Assumption dogma thanks to a neighbour who set up a loud radio across the street. This story highlights the close relationship between the convent and the local community in sharing major religious moments.

Perhaps the pinnacle of the church’s cultural significance was the canonical coronation of the titular painting of Our Lady of Pompeii in 1966. As devotion grew, the Vatican granted a decree to crown the image of the Virgin. On October 16, 1966, Bishop Giuseppe Pace of Gozo led a grand ceremony in St Augustine’s Square in Victoria, where the beloved painting from the church was carried out in procession and crowned in the presence of a large crowd. This event underscored the importance of the Pompeii sanctuary – it was one of the few Marian images in Gozo to be given a canonical crown, a mark of high honour in Catholic tradition. The memory of that day remains potent; in 2016 (the 50th anniversary of the coronation), the diocese held a jubilee pilgrimage in which over 60 priests and many faithful processed with the painting from St Augustine Square back to the church, culminating in an outdoor Mass led by Bishop Mario Grech Such events demonstrate how the Pompeii church serves as a focal point for island-wide Marian devotion.

In the cultural heritage of Victoria, the Church of Our Lady of Pompeii is regarded as a historic landmark. It is officially listed on the National Inventory of Cultural Property of the Maltese Islands, recognizing its architectural and historical value. Locals value the church not only for its spiritual services but also as part of the collective memory of the town. Many recall attending catechism classes or First Friday devotions there, and older residents might remember the wartime years when the sisters offered prayers for peace within its walls. The church has thus been a quiet yet steady influence on religious practice in Victoria, complementing the larger St George’s Parish and the Gozo Cathedral by offering an intimate space focused on the Rosary and Our Lady. Its presence has enriched local traditions – for instance, after the harvest, some families visit the chapel to pray the Rosary in thanksgiving, a custom encouraged by the Dominican nuns. Furthermore, the connection with the wider Dominican family (both the friars and the sisters in Malta) means that the Victoria sanctuary often participates in national initiatives like Rosary rallies or Marian conferences. In summary, although unassuming in size, this chapel holds an outsized significance as a guardian of a cherished devotion and as a testament to the piety and generosity of its founders in Gozitan religious history.

Present-Day Context

Today, the Church of Our Lady of Pompeii remains an active place of worship and community service. It is still managed by the Dominican Sisters, under the jurisdiction of the Gozo Diocese and in collaboration with St George’s Parish (within whose territory it lies). A rector or chaplain from the diocese (currently Mgr. Joseph Cauchi) is appointed to celebrate Mass and sacraments for the nuns and the faithful. The church is open for daily Mass early in the morning and is frequented by locals who seek a quiet liturgy or who have a particular devotion to Our Lady of Pompeii. The sisters, who reside in the adjacent convent, ensure that the sanctuary is well-maintained and open to visitors; they often can be seen preparing the altar or praying the Rosary there together. In addition to liturgical services, the complex still fulfils an educational mission – a private kindergarten and childcare center now operate in what used to be the girls’ school, continuing the tradition of service to young families (albeit on a smaller scale than in the past).

Physically, the church is in good condition, thanks to periodic maintenance and the sturdy construction of its limestone walls. There have been restoration efforts over the years focusing on both structure and art. For instance, the stone façade and the carved door surround were cleaned and restored in the early 2000s, and the dome was repaired after the aforementioned storm of 2009. Interior artworks, including the 1900 titular painting, have been conserved – the painting of Our Lady of Pompeii was carefully restored and cleaned ahead of the 2016 golden jubilee of its crowning, bringing out its original colours and details (this restoration was partly sponsored by devotees in thanksgiving for favours received). The side altarpieces and statues have likewise been kept in shape; any flaking paint or gilding has been retouched under professional guidance, often with funds raised by the congregation and benefactors. In recent years, the most dramatic incident affecting the church occurred in April 2025, when a sudden thunderstorm resulted in lightning striking the church’s dome lantern. The bolt shattered the glass windows of the lantern but, fortunately, caused no injuries. The damage was promptly addressed – the parish and community pitched in to help the sisters clean up, and repair work on the lantern’s glass and fittings commenced within days. This event highlighted both the vulnerability of historic structures to the elements and the community’s dedication to preserving their church.

Despite being over 125 years old, the sanctuary functions much as it always has: a quiet haven of prayer. It does not serve a large parish congregation, so it often escapes the crowds, providing a serene atmosphere that many locals and tourists appreciate. Visitors are welcome to enter and admire the interior outside of Mass times, and one can often find a nun or a lay volunteer ready to share a bit of history or a prayer card of Our Lady of Pompeii. The church’s management remains in the hands of the Dominican Sisters, who ensure its religious use is ongoing. The sisters also keep alive certain charitable traditions; for example, they organize an annual collection of food and goods at the church every October to distribute to the poor in honor of Our Lady (echoing Blessed Bartolo Longo’s emphasis on charity alongside prayer). In the broader community, the Pompeii church complements the pastoral work of the main parish by hosting specific devotions – notably, a weekly Rosary and Adoration on Wednesday evenings which draws devotees of Mary. In summary, in the present day this historic chapel continues to be well-integrated into the spiritual and communal life of Victoria: it is cherished by the faithful, cared for by its founding order, and safeguarded as part of Gozo’s patrimony.

Unique Stories and Legends

Over the decades, a number of unique anecdotes and local stories have become associated with the Pompeii church and its convent. While the site does not boast miraculous apparitions or famous legends in the way that Ta’ Pinu (Gozo’s national shrine) does, it does have its own folklore and notable tales that enrich its narrative:

• The Unwanted Statue from Lecce: One charming story involves the statue of Our Lady of the Rosary that now graces the church. This statue, a beautiful likeness of Mary holding the Child Jesus and Rosary, was originally ordered from Lecce, Italy for the Gozo Cathedral in the late 19th century. However, upon arrival, the Cathedral chapter was not entirely satisfied with its appearance – accounts suggest it “was not much to their liking” and didn’t fit the cathedral’s aesthetics. Two canons, Dun Salvatore Grech and Dun Carmelo Sultana (both friends of the Dominican nuns), intervened and petitioned that the statue be given to the sisters instead. Their request was granted. The statue was promptly turned over to the nuns and entrusted to a skilled Gozitan statue-maker, Wistin Camilleri, who touched it up and made some modifications before it was installed in the Pompeii church’s niche. Thanks to this twist of fate, the once “unwanted” statue became a treasured image in the Pompeii sanctuary. Locals often remark on this story, seeing it as an example of how Our Lady found her own place. The statue itself is now much loved, especially during October devotions; it is considered uniquely “hers” because it came to the church through Providence.
• Carolina’s Tomb in the Cathedral: Another poignant piece of lore connects the church’s foundress, Carolina Cauchi, to Gozo’s Cathedral. When Carolina died in 1907 at age 80, she was interred not at the Pompeii church (as might be expected for a foundress) but in the Cathedral of the Assumption’s main aisle, in the same grave as her parents. This was a special honour, acknowledging her status and contributions. Some say that this burial symbolically links the two Marian sanctuaries of Victoria – the Cathedral (dedicated to the Assumption of Mary) and the Pompeii church (dedicated to Our Lady of the Rosary) – almost as if to unite the old and new devotions to Mary in the city. Indeed, people sometimes refer to the Pompeii church as “Carolina’s church”, and the fact that her resting place is up the hill in the Cathedral is viewed with local pride (a marble tombstone there marks her name). The sisters keep her memory alive every year on July 17 with a memorial Mass, and this story is shared to illustrate her humility (she did not consider herself worthy to be buried in the church she built) and the esteem in which she was held.
• World War II and the Mysterious Protection: During World War II, Victoria was not spared the fear of air raids. Local anecdotes suggest that the Dominican sisters and devotees of Our Lady of Pompeii believed the church was miraculously protected during the war. It is said that on more than one occasion, as bombs fell in the vicinity (Victoria did suffer some bombing), the convent and church were untouched – something the sisters attributed to Our Lady’s mantle shielding them. In one vivid tale, older residents recount that a delayed-action bomb fell near the convent but did not explode, which was interpreted as divine intervention. While these stories are hard to verify, they form part of the oral history of the convent. They highlight the faith the community placed in the Madonna ta’ Pompei during dangerous times. In gratitude, the sisters would lead special thanksgiving rosaries after the war, further cementing the people’s devotion.
• The 1950 Radio Broadcast: A lighter anecdote from the 1950s shows the human side of cloistered life. When Pope Pius XII declared the Dogma of the Assumption in 1950, the cloistered Dominican nuns wished to hear the live radio broadcast of the proclamation from Rome. Lacking a radio of their own, they turned to a neighbour across the street. A kind family (the Ciantar family) set up a radio on their balcony and blasted the volume so that the sisters, gathered on their convent veranda, could listen from behind their grille This incident, fondly remembered in local memoirs, is often recounted as an example of the close-knit community spirit. The nuns’ joyful shouts of “Viva Maria!” could allegedly be heard when the proclamation was made. The story underscores the cloistered-yet-connected nature of the sisters’ life – even behind convent walls, they were very much part of the communal experience of faith in Gozo.
• Stamp and Coin Commemorations: The church and its foundress have also been subjects of unique honour. In 2007, Maltapost issued a postage stamp (86c denomination) depicting Carolina Cauchi and the Church of Our Lady of Pompeii side by side, to mark the centenary of Carolina’s death. This stamp, part of a set celebrating Maltese personalities, effectively canonized Carolina in local culture as a figure of admiration. The design showed Carolina’s portrait and the church’s façade, immortalizing their legacy in philatelic form. Additionally, devotees note that in 2015, on the 125th anniversary of the first sisters’ arrival, a limited-edition holy medal and a commemorative booklet were produced, sharing anecdotes and historical photos – these have since become collectibles that preserve the stories associated with the church. Such commemorations, while not legends in the supernatural sense, contribute to the mythos of the place, ensuring that its history and the people behind it are not forgotten.

In sum, the Church of Our Lady of Pompeii in Victoria may not have famous miracles or apparitions linked to it, but it is rich in human stories and local lore. These stories – from the re-homed Italian statue to the foundress’s resting place, from wartime faith to neighbourly kindness – all serve to deepen the community’s affection for the church. They illustrate how intertwined the chapel has become with the lives of the people, making it more than just a stone building; it is a repository of memories and testament to faith in action.

Visual and Artistic Features

Although modest in size, the Pompeii church in Victoria is adorned with notable art and devotional objects, many of which were specially commissioned and hold artistic as well as spiritual value. The exterior of the chapel, as described, features a simple yet elegant Baroque façade in local limestone. Key visual elements of the facade include pilasters dividing it into three bays, a curved pediment with the Eye of Providence at the center (radiating carved rays across the upper facade), and ornamental stone balconies and urns that add Baroque flourish. Above the main door, one can see a white sculpted cartouche with the Latin dedication and the year “MCM” (1900) inscribed, signalling the church’s dedication to the Virgin of Pompeii in that year. Originally, as mentioned, a statue of the Virgin Mary stood atop the dome; visually this must have been striking, but today a cross marks the dome’s apex after the statue’s loss in 2009en.wikipedia.org. The bell tower is a small belfry structure that rises on one side of the facade, housing a single bell used to chime the Angelus and call the sisters to prayer.

Inside, the church is a single-nave design with a semicircular apse. The interior is relatively austere yet graceful, painted in light tones. There is one main dome over the crossing area which lets in natural light. The dome’s interior is decorated with coffers and possibly with frescoes or symbolic motifs (photos show that it may bear a Marian symbol in the center). The nave is flanked by shallow side altars set into the walls. Despite the chapel’s small scale, it contains an impressive collection of sacred art, much of it created by prominent Maltese artists of the late 19th and early 20th centuries. The artworks can be enumerated as follows:

• Main Altarpiece – Our Lady of Pompeii: The titular painting above the high altar depicts the Virgin Mary of Pompeii (Our Lady of the Rosary) handing rosaries to St. Dominic and St. Catherine of Siena, mirroring the famous icon of Pompeii in Italy. It was painted by Lazzaro Pisani around 1899–1900 and is a faithful copy of the original miraculous painting in the Italian shrine. Pisani, one of Malta’s renowned artists, captured fine details of the Madonna and Child and the two saints. The painting was finished shortly before the church opened in 1900 and was paid for by a devotee, Mr. Vincenzo Vella of Sliema, who generously sponsored it. This altarpiece became even more treasured after it was crowned in 1966 (the actual painting is adorned with a set of gold crowns that were placed during the coronation ceremony). The framing is a rich Baroque-style gilded frame. Today, the painting stands as the spiritual focal point of the church, often illuminated by candles.
• Side Altar of St. Vincent Ferrer: On one of the lateral altars is a painting of Saint Vincent Ferrer (San Vinċenz Ferreri), a famous Dominican saint. This painting was also executed by Lazzaro Pisani, two years after the church’s opening (circa 1902). It shows St. Vincent in Dominican habit, holding a flame and a trumpet (as he is traditionally depicted, symbolizing his fiery preaching). The cost of this artwork was covered by a benefactor named Vincenzo Caruana. This side altar holds significance since St. Vincent Ferrer is a secondary patron of the Gozitan Dominicans; the painting is thus an homage to the Dominican heritage.
• Side Altar of St. Thomas Aquinas: Another Dominican saint honoured in the chapel is St. Thomas Aquinas (San Tumas D’Aquino). Pisani painted a canvas of St. Thomas, likely depicting him with a sunburst on his chest and holding a book (attributes of the Angelic Doctor). This artwork was sponsored by Miss Karmela Agius, whose donation is noted in records. St. Thomas, being a patron of theological studies, was perhaps especially meaningful in the context of an educational convent. The painting occupies a side altar or wall space, adding to the Dominican iconography in the church.
• Other Small Paintings (St. Joseph, St. Raphael, St. Expeditus): In addition to the above, Lazzaro Pisani painted three smaller paintings to adorn the church, representing St. Joseph, Archangel Raphael, and Saint Expeditus. These would have been completed in the early 1900s and are placed likely above small niches or altars along the nave. St. Joseph (patron of the Universal Church and of families) and St. Raphael (patron of travellers and a healer, featured in the Book of Tobit) are common devotions that the sisters probably wished to include. The presence of St. Expeditus is intriguing – he is a rather obscure saint (a Roman soldier-martyr invoked for urgent causes). His inclusion suggests there was a particular devotion or story associated with him; perhaps the nuns or benefactors had a special devotion to St. Expeditus for timely help. All three of these paintings by Pisani add to the rich devotional atmosphere, and together with the larger canvases, they mean that Pisani contributed at least five artworks to this small church – a significant artistic legacy by a single Maltese master.
• “Isem Mqaddes t’Alla” (Holy Name of God) Painting: Distinct from Pisani’s works, the church possesses a painting of the Holy Name of God – essentially a depiction honouring the divine name. This painting is the work of Giuseppe Calì, another giant of Maltese art, active in the late 19th century. Notably, this piece was not made for the Pompeii church originally; it was gifted by the Dominican fathers of Porto Salvo Church in Valletta to the sisters. (Porto Salvo/St Dominic’s in Valletta had an altar dedicated to the Holy Name of God, so presumably this might have been an older painting replaced by a new one there, and the old one sent to Gozo.) Having a Calì painting is quite prestigious – Calì’s style is characterized by warmth and realism. This particular painting likely features the emblem “IHS” or the Tetragrammaton in glory, venerated by St. Dominic or angels. Its transfer to the Victoria convent reflects the close ties between the Dominican friars in Malta and the sisters in Gozo. The painting today is placed in the church, perhaps over the entrance or another prominent spot, as a reminder of reverence for God’s name.
• Statue of Our Lady of the Rosary: As described in the anecdotes, the statue of the Madonna tar-Rużarju (Our Lady of the Rosary) is a significant artistic statue within the church. Carved in Lecce, Italy, in a Southern Italian style, it shows the Virgin Mary standing while holding the Child Jesus, who in turn extends a rosary. Surrounding the figures are likely small statues of St. Dominic and St. Catherine (this is common in Rosary statue groups – though it’s unclear if those were part of this statue’s composition). After being slightly modified by Wistin Camilleri, the statue was placed in a niche in the church around the turn of the 20th century. It has since been the focus of October Rosary devotions. Uniquely, each year on the first Sunday of October, this statue is traditionally taken out in a procession around the convent grounds, a mini-festa for the nuns. The statue’s “story” (nearly rejected by the Cathedral, then welcomed here) gives it a special aura. Visually, it is described as a beautiful statue in full coronation – meaning both the Madonna and Christ child figures wear crowns, especially after the 1966 coronation event when canonical crowns were added. The workmanship from Lecce is finely detailed, with flowing robes and lifelike features, making it one of the artistic highlights inside the church.
• Statue of St. Dominic: Also mentioned is a statue of St. Dominic, the founder of the Dominican Order. This statue is said to be “sabiħa” (beautiful) and likely stands in the church, possibly on the opposite side to the Rosary Madonna or near the front. It may depict St. Dominic holding a lily and a book, or a rosary, as is customary. The origin of this statue isn’t detailed in sources; it could be locally made or an imported one. Given Wistin Camilleri’s involvement with the Rosary statue, one wonders if he or another local artist created the St. Dominic statue around the same time. In any case, it serves as a visual anchor for the Dominican identity of the place, reminding visitors that this is a Dominican sanctuary.

In addition to these major pieces, the church likely houses other devotional art: perhaps a statue of the Sacred Heart or St. Joseph (common in most churches), the Stations of the Cross (which could be prints or reliefs on the walls), and various relics or liturgical artifacts. The altar furnishing is also notable – the main altar is made of marble, installed presumably by Italian or local artisans, and the sanctuary floor has decorative tiles. A delicate communion rail (possibly wooden or wrought iron) once separated the nuns’ choir area from the public area, as the sisters would attend Mass from behind a grille near the altar in older times. While much of the church’s beauty is in its paintings and statues, one should not overlook the carved stonework: the interior pilasters have carved capitals, and the cornices have detailed mouldings, all evidencing Mercieca’s Baroque influence.

Lighting is provided by antique chandeliers and wall sconces, which cast a gentle glow on the artworks in the evenings. The overall colour scheme inside is light pastel with gold highlights on the altar – creating a prayerful atmosphere. Preservation of these artistic features is taken seriously. For instance, when restoration is done, the curators ensure original paint is retained on canvases and statues. In 2018, some of Pisani’s paintings were exhibited during a cultural activity, showing their fine condition and allowing art lovers to appreciate them up close (under supervision). The Church of Our Lady of Pompeii thus serves as a mini-museum of Maltese sacred art, with contributions from two of Malta’s famed painters (Pisani and Calì) and notable sculptors, all assembled in one intimate space. Each artwork and visual element is not only aesthetically significant but is imbued with the devotional life of the community – they are well-used in worship, whether it’s crowning the statue with a wreath of flowers in May or lighting candles beneath St. Joseph’s image on his feast. The artistic heritage of the chapel greatly enriches its spiritual ambiance, making a visit both a cultural and religious experience for those who step inside.

References:

• Cauchi, J. (2025). Feast of Our Lady of Pompeii in Victoria – Times of Malta.
• Dominican Sisters of Malta. Highlights from the History of the Congregation (1889–1923 entries).
• Fenech, M. (2018). Is-Santwarju tal-Madonna ta’ Pompei fil-Belt Victoria f’Għawdex – Festa Madonna ta’ Pompei Marsaxlokk 2018.
• Gozo Philatelic Society Newsletter No.71 (2018), “Church of Our Lady of Pompeii – Victoria”.
• timesofmalta.com. Marian Pilgrimage (Oct 2016); How Dominican sisters listened… (Aug 2023).
• newsbook.com.mt. Lightning causes damage to Church of Pompei, Gozo (April 29, 2025).
• Wikipedia. Our Lady of Pompei Church, Victoria, Gozo. (Contains public domain text and data).